Mitzvah for Tod

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My brother Tod’s story "Mitzvah" in Akashic’s anthology LAS VEGAS NOIR got a shout-out in a positive Publishers Weekly review today:

Columnist Tod Goldberg’s
“Mitzvah” makes good use of the Las Vegas myth that people come to the
city to bury their past identities and reinvent themselves. His
antihero, mobster Sal Cuperine, has for years posed as Rabbi David
Cohen, managing to handle the demands of the pulpit until the strain of
his charade becomes too much to bear. 

Absent from Duty

Sorry I haven’t been posting much lately — I’ve been working hard on my seventh MONK book (due April 30th) and a couple of other projects, which hasn’t left me much time for the blog (or The Bog as Paul Guyot used to call it). What’s nice is that now I can call Bill Rabkin and my brother Tod and whine to them about meeting my deadlines. I was doing that before, but now that they are also juggling tie-in writing assignments with their other work, they know first-hand what I am going through. I am looking forward to this summer, when Tod and I will both have new books out and can do signings together, and next January, when Tod, Bill and I will all have books out at the same time. It should be fun… certainly more so than hitting the signing trail alone.

Kentucky Woman, She Shines in her Own Kind of Light

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I’ve got some good news to share…my original screenplay "Mapes For Hire," based on my novel THE
MAN WITH THE IRON-ON BADGE
, has been nominated for an Angie Award at the second annual International Mystery Festival in Owensboro, Kentucky …even better, the script will be performed on stage  like an old-time radio show during the festival at the Riverpark Center. Other nominees in this category include scripts by Ray Bradbury, Rupert Holmes, and my friend Robert S. Levinson, so I am in very good company.The winner gets a statuette, a couple of grand in cash, and maybe even a bucket of Colonel Sanders fried chicken. All of that would be nice, but I can’t wait to "hear" my script performed, which is prize enough for me.

It’s Just Pathetic

The Diary of a Mad Editor tackles the fanfic issue. He says, in part:

[…]fan fiction isn’t a bad thing just because the writing’s
bad – it’s bad because it also undermines the integrity of the original
work […]Clearly, though, there is a difference between what Goldberg writes and what some acne-faced turd on Quizzilla.com or FanFiction.net writes.

[…]See, Goldberg’s
writings are licensed by the original creators of the characters he
writes about whereas fan fictioneers are infringing on the original
authors’ copyright.
One form of writing is done by professionals for commercial purposes
and the other is done by delusional amateurs purely for love/self-love.
Here’s the problem — now the fanfic losers want copyright protection
extended to their “original” creations.

He believes that if the efforts by the Organization of Transformative Works to extend copyright protection to fanfic are successful, it could have a wide-ranging, negative impact on all writers.

If fan fiction receives legal parity with original work, it would
create a wave of frivolous lawsuits in which any author of fan fiction
could claim that the original author stole their ideas. As a writer, I
cringe at this very thought. Giving derivative works that kind of
legitimacy would destroy any value intellectual property protection has
for writers.

I think he sums up the fanfic issue pretty concisely when he says:

A 14 year old kid writing fan fiction is unfortunate but forgivable,
but when you’re 30 and still writing it, it is just pathetic. If you
want to be taken seriously as a writer and have full copyright
protection and all that good shit, write something original and worth
reading.

Don’t Expect the “Truth” about Self-Publishing from Someone Who Runs a Vanity Press

Earlier this month, I told you about a scam called "Beneaththecover.com," which purports to offer authors inside news and expert advice about the publishing industry when, in fact, it’s just a front for a bunch of vanity press and book promotion hucksters selling their wares.  This point was driven home the other day when one of their so-called "experts," vanity press publisher Yvonne DiVita, offered this outrageous lie in a post she had the chutzpah to title "POD Myths Dispelled – Get The Scoop Here":

In today’s
emerging digital world, if you truly want to attract that big name
publisher, use a professional POD firm to self-publish because the big
name publishers are watching.

The best way to attract a publisher is to write a good book, not blow thousands of dollars having it printed in POD form by a vanity press. If anything, printing your book in POD is more likely to prevent a publisher from taking you or the book seriously.

DiVita is one of a pack of POD vanity press hucksters who prey on the gullibility, desperation, and ignorance of aspiring authors. She argues that vanity presses aren’t merely printers but real publishers because they pay more attention to their authors than real publishers do.  What she neglects to mention is that vanity presses like hers make the vast majority of their money off their authors, not from booksales, and that all that attention they slather on their clients (not authors, ladies and gentlemen, clients)  is to convince them to spend even more on their worthless services.  She writes:

IF authors don’t sell enough books with their publisher, POD
or otherwise, the author isn’t trying hard enough. I’ve worked with
traditional publishers, and they require an extensive marketing plan
from authors before they will consider publication. And research shows
that books published by traditional publishers sell around 150-300, on
average.

That’s right, blame the author for the fact that their POD vanity press books aren’t sold in stores and are unlikely to sell to anyone but the client… and then back it up with pointless "facts."

I’ve had over two dozen books published by real publishers. No editor has ever asked me for an "extensive marketing plan" before considering my books.I’ve also asked a few published friends…and they have never been asked for marketing plans, either. But they are novelists, and perhaps they would be asked for one if they wrote non-fiction. So let’s give DiVita the benefit of the doubt and say publishers want marketing plans along with non-fiction book proposals. To which I say… So what?  How is that a persuasive argument for going to vanity-press instead of a real publisher? You’ll need a marketing plan either way. The key difference is that a real publisher will pay you and a vanity press will ask for your credit card number.

I’ve scoured the web and I can’t find any "research" that backs up her outrageous claim that most books published by genuine publishers sell only 150-300 copies.

The closet statistic I could find to her numbers was a 2004 Bookscan study that tracked sales of 1.2 million books sold that year. According to their figures, the average book of any kind published in 2004 sold 500 copies. The study noted that only 25,000 titles sold more than 5,000 copies each,
500 sold more than 100,000 copies and only ten sold more than a million
copies. But the figures are controversial, because the sales were not broken down by genre, like fiction or non-fiction, nor did they differentiate between titles from large
publishers or small ones, traditional publishers or vanity presses.

But lets pretend her figures are right. How is that an argument for going to a vanity press? Authors published by real publishers whose books only sold 500 copies in 2004 were still paid to be published.  They earned money, though not as much as they’d hoped.

By comparison, most vanity press authors will lose money because they paid to be published. But don’t take my word for it, let’s look at the 2004 sales figures from iUniverse, the biggest name in self-publishing:

18,108: Total number of titles
published

792,814: Number of copies
printed

14: Number of titles
sold through B&N’s bricks-and-mortar stores (nationally)

83: Number of titles that sold at least 500
copies

Out of 18,000 titles and nearly 800,000 copies printed, only 83 authors sold more than 500 copies. Good God. Think of all the money that authors lost …and how much iUniverse made. That’s the business that DiVita is in…and it’s a profitable one. For the printer, not the author. 

So what is the truth about POD self-publishing companies? It’s obvious. Vanity presses are in the "author services business", not the publishing business which, in a rare bit of candor, even DiVita concedes on her vanity press website:

Windsor Media Enterprises specializes in author services. We  offer idea development, manuscript critiquing, editing, proofreading, formatting and cover design, for new and existing authors.

And for that, they charge you a price and that’s how they make their money. That is their business. And if your book,  by some miracle, manages to sell a few copies, they make a little more. 

A vanity press will tell you any lie they can to convince you that they are real publishers (when they are merely selling editing and printing services), that self-publishing is the route most successful authors take (it’s not), and that you have as much of a chance to sell books with them as you do going with a traditional publisher (you don’t).

Is Yvonne DiVita really someone qualified to give writers sound advice? Or is she someone with a clear conflict-of-interest hoping to coerce naive authors into buying her product? The answer is obvious, and it came right from the founders of Beneaththecover.com  when they tried to solicit my brother Tod into being one of their experts:

Beneath the Cover is a cooperative venture for building marketing platforms of everyone involved.

That’s what should be written on the masthead of their home page, not "Where book industry professionals who know almost everything go to discuss news, insights, and evolving industry issues." And it should be stated in big print on each and every piece of "advice" that they give.

Dumb and Dumber

Back in 2006, I wrote about a TV bootlegger who bought advertising on Google to promote his various websites.  Now it turns out that the moron has been using the address of a Winnipeg newspaper as one of his many false return addresses:

If you want to keep it secret that you’re selling pirated DVDs, it’s
probably not a good idea to use a major Canadian newspaper as your
return address.

Over the last few days, several packages of pirated DVDs have been shipped to the Winnipeg Free Press from disgruntled customers around the world.
The packages originated from entities called DVD Avenue.TV, DVD Store, AllMyFavoriteShows.com and Expediteur,

Gary Osmond, the Canadian Motion Picture Distribution Association’s
director of investigations — anti-piracy operations, said the DVDs
received by the Free Press are connected to the massive seizure of thousands of counterfeit DVDs by the RCMP in Montreal just before Christmas.

More than 200 DVD burners were also seized by police and eight people
were arrested who are facing fraud charges under the Criminal Code and
Copyright Act.

But Osmond was surprised to hear the DVD pirates had used the Free Press’ address.

"They’re not too smart," Osmond said.

"In Montreal, they used post office box numbers for Canada Post or
private companies. There was one legitimate address in Montreal, but it
was a hole in the ground with a building being constructed.

"Yours is the only legitimate address and the first in Winnipeg."

I Knew This Was Coming

Victoria Strauss reports that BookWise has gone — surprise! surprise! — into the vanity press business, a natural extension of their multi-level marketing scheme. They are charging gullible aspiring writers $6000 to "publish" their books and for "intensive training" at their WriteWise (aka PublishStupid) seminars taught by "Industry Experts" who, outside of BookWise founders author Richard Paul Evans and get-rich-quick huckster Robert G. Allen, have no actual industry experience.

Their "expert" faculty consists of the teacher of the Info-Preneuring Teleclass for the Enlightened Wealth Institute, a self-published cookbook author, and three authors who write fiction exclusively for the "LDS market"  ("work consistent with the standards and principles of the restored gospel of Jesus Christ").  I guess Lori Prokop, Michael Drew, and Brien Jones were unavailable.

You will also get such amazing benefits as "an official BookWise review" and your photograph taken  with BookWise founders Evans and Allen. Wow! Where do I sign up?

BookWise thinks that "anyone who is a serious writer" would gladly pay $20-30,000 for all of this,   so six grand is a bargain. But "serious" writers know better than to take seminars from vanity press publishers and industry know-nothings who have a clear profit motive and glaring conflict-of-interest behind their "teaching."

This is no ordinary vanity press scheme. To lure in as many suckers as possible, BookWise is offering a $1000 bounty for every paying sucker their multilevel marketing associates can bring in. Prepare to be spammed. But wait, there’s more, as Victoria reports:

There’s another twist to the story. For writers accepted into
WriteWise, Richard Paul Evans and Robert G. Allen will become their
literary agents, receiving, according to the WriteWise brochure, "the
standard agency fee [of] 15% of the royalties that an author receives
from the publisher." The brochure makes it clear, however, that not
every book will be shopped: "…depending upon circumstances, BookWise
Publishing may also present your book to other major publishers." In
this arrangement, most of the benefit is on the agents’ side: they
don’t actually have to do anything for you (unlike in a normal
author-agent relationship), but if they do, they get paid twice.

These guys are taking the vanity press scam to a whole new, and truly sleazy, level.

A New Approach to Fandom

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The Los Angeles Times reports today that DR. WHO executive producer Russell T. Davies is taking a new approach to fans. He’s completely ignoring them.

"I think we’re an unusual
science-fiction franchise in taking a very big step back from fandom
and having nothing to do with them. . . . Every program on the BBC has
a message board on the website. I forbid it to happen on ‘Doctor Who.’
I’m sorry to say this, all the science fiction producers making stuff
in America, they are way too engaged with their fandom. They all need
to step back."

His policy of ignoring the fans doesn’t seem to be hurting his show at all.  In fact, it may be helping by making his show more accessible to mainstream audiences worldwide.

It falls to
Davies "to keep balancing how much continuity there is, how many
stand-alone elements there are." Ever mindful of the shows’ "mainstream
audience" (meaning, not just sci-fi enthusiasts) and put off by
"exclusivity" in general, he said he is reticent of creating overly
inclusive stories dependent on viewers’ in-depth knowledge of ornate
histories.  This job is made easier by Davies’ policy of ignoring the voices of those most vigilant.

Is there a lesson to be learned here for showrunners?